#natural disasters essay

[seekergkfan]

Essay on "Disasters: Its Causes, Consequences & Mitigation measures"

Essay on “Disasters: Its Causes, Consequences & Mitigation measures”

Disasters: Causes, Consequences & Mitigation measures [PMS 2022] Essay on the topic “Disasters: Causes, Consequences & Mitigation measures” [PMS 2022] Disasters: Causes, Consequences & Mitigation measures Essay on “Disaster: A sudden call to engage in a contest” by CSSMCQs.com Team 1. Introduction 2. Flood Disasters in Pakistan (2022) 3. Causes of Disasters I. Natural disasters: II. Human…

[whats-in-a-sentence]

Well, then, if an eclipse is so rare and frightening a phenomenon, it is very easy and almost inevitable to argue that its consequence must be an equally rare and frightening event on Earth. In short, an eclipse must portend disaster.*

* The very word 'disaster' is from a Greek term meaning, essentially, 'evil stars.'

"The Stars in their Courses" - Isaac Asimov

[kitchen-light]

When a meteor lands, we call it a meteorite. When a tree dies due to climate change, should we make another name for it? Should there be a new language for this off-kilter world? When mackerel, the traditional catch of West African and Spanish fishers, show up in Iceland, are they still mackerel? Are pelicans that glide over the Schuylkill River, at least five degrees north of their historical habitat, still pelicans, or must we translate them? What are the words to express a world circumscribed by climate catastrophe?

Anna Badkhen, from her essay “The Language of Catastrophe | On how to discuss the death of giants”, published in Orion Magazine, Spring 2023 | March 20, 2023

[ceilidhtransing]

The discussions around whether or not to vote for Kamala keep being dominated by very loud voices shouting that anyone who advocates for her “just doesn't care about Palestine!” and “is willing to overlook genocide!” and “has no moral backbone at all!” And while some of these voices will be bots, trolls, psyops - we know that this happens; we know that trying to persuade progressives to split the vote or not vote at all is a strategy employed by hostile actors - of course many of them won't be. But what this rhetoric does is continually force the “you should vote for her” crowd onto the back foot of having to go to great lengths writing entire essays justifying their choice, while the “don't vote/vote third party” crowd is basically never asked to justify their choice. It frames voting for Kamala as a deeply morally compromised position that requires extensive justification while framing not voting or voting third party as the neutral and morally clean stance.

So here's another way of looking at it. How much are you willing to accept in order to feel like you're not compromising your morals on one issue?

Are you willing to accept the 24% rise in maternal deaths - and 39% increase for Black women - that is expected under a federal abortion ban, according to the Centre for American Progress? Those percentages represent real people who are alive now who would die if the folks behind Project 2025 get their way with reproductive healthcare.

Are you willing to accept the massive acceleration of climate change that would result from the scrapping of all climate legislation? We don't have time to fuck around with the environment. A gutting of climate policy and a prioritisation of fossil fuel profits, which is explicitly promised by Trump, would set the entire world back years - years that we don't have.

Are you willing to accept the classification of transgender visibility as inherently “pornographic” and thus the removal of trans people from public life? Are you willing to accept the total elimination of legal routes for gender-affirming care? The people behind the Trump campaign want to drive queer and trans people back underground, back into the closet, back into “criminality”. This will kill people. And it's maddening that caring about this gets called “prioritising white gays over brown people abroad” as if it's not BIPOC queer and trans Americans who will suffer the most from legislative queer- and transphobia, as they always do.

Are you willing to accept the domestic deployment of the military to crack down on protests and enforce racist immigration policy? I'm sure it's going to be very easy to convince huge numbers of normal people to turn up to protests and get involved in political organising when doing so may well involve facing down an army deployed by a hardcore authoritarian operating under the precedent that nothing he does as president can ever be illegal.

Are you willing to accept a president who openly talks about wanting to be a dictator, plans on massively expanding presidential powers, dehumanises his political enemies and wants the DOJ to “go after them”, and assures his supporters they won't have to vote again? If you can't see the danger of this staring you right in the face, I don't know what to tell you. Allowing a wannabe dictator to take control of the most powerful country on earth would be absolutely disastrous for the entire world.

Are you willing to accept an enormous uptick in fascism and far-right authoritarianism worldwide? The far right in America has huge influence over an entire international network of “anti-globalists”, hardcore anti-immigrant xenophobes, transphobic extremists, and straight-up fascists. Success in America aids and emboldens these people everywhere.

Are you willing to accept an enormous number of preventable deaths if America faces a crisis in the next four years: a public health emergency, a natural disaster, an ecological catastrophe? We all saw how Trump handled Hurricane Maria in Puerto Rico. We all saw how Trump handled Covid-19. He fanned the flames of disaster with a constant flow of medical misinformation and an unspeakably dangerous undermining of public health experts. It's estimated that 40% of US pandemic deaths could have been avoided if the death rates had corresponded to those in other high-income countries. That amounts to nearly half a million people. One study from January 2021 estimated between around 4,200 and 12,200 preventable deaths attributable purely to Trump's statements about masks. We're highly unlikely to face another global pandemic in the next few years but who knows what crises are coming down the pipeline?

Are you willing to accept the attempted deportation of millions - millions - of undocumented people? This is “rounding people up and throwing them into camps where no one ever hears from them again” territory. That's a blueprint for genocide right there and it's a core tenet of both Trump's personal policy and Project 2025. And of course they wouldn't be going after white people. They most likely wouldn't even restrict their tyranny to people who are actually undocumented. Anyone racially othered as an “immigrant” would be at risk from this.

Are you willing to accept not just the continuation of the current situation in Palestine, but the absolute annihilation of Gaza and the obliteration of any hope for imminent peace? There is no way that Trump and the people behind him would not be catastrophically worse for Gaza than Kamala or even Biden. Only recently he was telling donors behind closed doors that he wanted to “set the [Palestinian] movement back 25 or 30 years” and that “any student that protests, I throw them out of the country”. This is not a man who can be pushed in a direction more conducive to peace and justice. This is a man who listens to his wealthy donors, his Christian nationalist Republican allies, and himself.

Are you willing to accept a much heightened risk of nuclear war? Obviously this is hardly a Trump policy promise. But I can't think of a single president since the Cold War who is more likely to deploy nuclear weapons, given how casually he talks about wanting to use them and how erratic and unstable he can be in his dealings with foreign leaders. To quote Foreign Policy only this year, “Trump told a crowd in January that one of the reasons he needed immunity was so that he couldn’t be indicted for using nuclear weapons on a city.” That's reassuring. I'm not even in the US and I remember four years of constant background low-level terror that Trump would take offence at something some foreign leader said or think that he needs to personally intervene in some military situation to “sort it out” and decide to launch the entire world into nuclear war. No one sane on earth wants the most powerful person on the planet to be as trigger-happy and careless with human life as he is, especially if he's running the White House like a dictator with no one ever telling him no. But depending on what Americans do in November, he may well be inflicted again on all of us, and I guess we'll all just have to hope that he doesn't do the worst thing imaginable.

“But I don't want those things! Stop accusing me of supporting things I don't support!” Yes, of course you don't want those things. None of us does. No one's saying that you actively support them. No one's accusing you of wanting Black women to die from ectopic pregnancies or of wanting to throw Hispanic people in immigrant detention centres or of wanting trans people to be outlawed (unlike, I must point out, the extremely emotive and personal accusations that get thrown around about “wanting Palestinian children to die” if you encourage people to vote for Kamala).

But if you're advocating against voting for Kamala, you are clearly willing to accept them as possible consequences of your actions. That is the deal you're making. If a terrible thing happening is the clear and easily foreseeable outcome of your action (or in the case of not voting, inaction), in a way that could have been prevented by taking a different and just as easy action, you are partly responsible for that consequence. (And no, it's not “a fear campaign” to warn people about things he's said, things he wants to do, and plans drawn up by his close allies. This is not “oooh the Democrats are trying to bully you into voting for them by making him out to be really bad so you'll feel scared and vote for Kamala!” He is really bad, in obvious and documented and irrefutable ways.)

And if you believe that “both parties are the same on Gaza” (which, you know, they really aren't, but let's just pretend that they are) then presumably you accept that the horrors being committed there will continue, in the immediate term anyway, regardless of who wins the presidency. Because there really isn't some third option that will appear and do everything we want. It's going to be one of those two. And we can talk all day about wanting a better system or how unfair it is that every presidential election only ever has two viable candidates and how small the Overton window is and all that but hell, we are less than eighty days out from the election; none of that is going to get fixed between now and November. Electoral reform is a long-term (but important!) goal, not something that can be effected in the span of a couple of months by telling people online to vote third party. There is no “instant ceasefire and peace negotiation” button that we're callously overlooking by encouraging people to vote for Kamala. (My god, if there was, we would all be pressing it.)

If we're suggesting people vote for her, it's not that we “are willing to overlook genocide” or “don't care about sacrificing brown people abroad” or whatever. Nothing is being “overlooked” here. It's that we're simply not willing to accept everything else in this post and more on top of continued atrocities in Gaza. We're not willing to take Trump and his godawful far-right authoritarian agenda as an acceptable consequence of feeling like we have the moral high ground on Palestine. I cannot stress enough that if Kamala doesn't win, we - we all, in the whole world - get Trump. Are you willing to accept that?

And one more point to address: I've seen too many people act frighteningly flippant and naïve about terrible things Trump or his campaign want to do, with the idea that people will simply be able to prevent all these bad things by “organising” and “protesting” and “collective action”. “I'm not willing to accept these things; that's why I'll fight them tooth and nail every day of their administration” - OK but if you're not even willing to cast a vote then I have doubts about your ability to form “the Resistance”, which by the way would have to involve cooperation with people of lots of progressive political stripes in order to have the manpower to be effective, and if you're so committed to political purity that you view temporarily lending your support to Kamala at the ballot box as an untenable betrayal of everything you stand for then forgive me for also doubting your ability to productively cooperate with allies on the ground with whom you don't 100% agree. Plus, if the Trump campaign gets its way, American progressives would be kept so busy trying to put out about twenty different fires at once that you'd be able to accomplish very little. Maybe you get them to soften their stance on trans healthcare but oh shit, the climate policies are still in place. But more importantly, how many people do you think will protest for abortion rights if doing so means staring down a gun? Or organise to protect their neighbours from deportation if doing so means being thrown in prison yourself? And OK, maybe you're sure that you will, but history has shown us time and time again that most people won't. Most people aren't willing to face that kind of personal risk. And a tiny number of lefties willing to risk incarceration or death to protect undocumented people or trans people or whatever other groups are targeted is sadly not enough to prevent the horrors from happening. That is small fry compared to the full might of a determined state. Of course if the worst happens and Trump wins then you should do what you can to mitigate the harm; I'm not saying you shouldn't. But really the time to act is now. You have an opportunity right here to mitigate the harm and it's called “not letting him get elected”. Act now to prevent that kind of horrific authoritarian situation from developing in the first place; don't sit this one out under the naïve belief that “we'll be able to stop it if it happens”. You won't.

[ethecookednoodle]

I'm in a bit of a morbid streak so sure, I'll bite.

Honestly the first thing we shouldn't be doing should be narrowing it to one disaster, because the thing about Mob going apeshit is that he had several effects on his surroundings. I think, for the sake of simplicity, we should compare Mob's outburst to and earthquake, a tornado and a hurricane.

The strongest earthquake I have like, more knowledge about is the earthquake that happened here in México in 1985. It had a magnitude of 8.1 on the Richter scale and it killed 3,192 people according with official documents, with other organizations rounding the numbers on 20,000. So a lot of people. And it killed them in about a minute and a half.

For the tornado, this is an easy one because the fastest and biggest tornado on modern history actually happened fairly recently. It was de tornado of El Reno in 2013. That shit was BIG. It was 2.6 miles wide (4.2 kilometers for those who do not live in the US), and it had ground wind speeds of 296 miles per hour (or 476 kilometers per hour) which according to experts are some of the fastest speeds ever recorded. However, and despite how terrifying that thing was, it doesn't have a high death count, with only 9 people dying that day and 3 of them being storm chasers (which is important because these people, as the name suggest, go arround following storm cells and record tornadoes). But the reason it didn't kill a lot of people, or destroy a lot of property was because the region it developed was fairly rural, so not a lot of stuff around to destroy.

Which is why I also mentioned hurricaines, because they're more or less the same concept as tornadoes (lots of destructive and speedy winds) but they can do things tornadoes don't do, and that is that they linger around. Naturally, the best choice for this would be hurricaine Katrina, which killed 1,392 with winds going as fast as 170 miles per hour (280 kilometers per hour) and lasting 7 days, from the 23 of august to the 30th of that same month. It cost the US 2005 dolars on damages.

What I'm going with this is that we need to consider all the damages we can see in these pictures, especially the one you put as an example, as well as consider the facts we have about Mob's outburst. Firstly, we know he caused a tornado, Serizawa mentions this and the news channels do as well. Second, neither tornadoes nor hurricaines cause those kinds of cracks on the ground (water pipes bursting don't count) so naturally the thing we need to compare it to is an earthquake. With all that taken into account...well, it's not looking very good. As I said, the earthquake here in México killed a shit ton of people in just half a minute, and as far as I know it didn't cause that much destruction, so we can assume that, if Mob was causing something similar to an earthquake, it had a magnitude above 8.1. Then we need to take into account the hurricaine/tornado aspects. Although Mob's tornado definitely wouldn't last as long as Katrina or other hurricaines (because usually hurricaines, depending on where they were formed, can last a lot of days on land) it would last longer than a tornado, simply because Mob, despite how destructive he was being, was walking at a normal speed. Like, that boy, Shiego/Mob, was taking his time, and it kind of depends on how far he was from Tsubomi when it all started. Aside from the lingering, strength and drestruction wise I think it's fair to compare it both to tornadoes and hurricaines, just because Mob is that strong (I have no idea how the fuck Reigen didn't die).

All that being said, It all also depends on the poblational density of Seasoning City. I don't think it's as dense as Tokyo, but, judging from its appearance I think Seasoning City may be closer to Saitama (which, yeah, funny, and I wouldn't put it past ONE because, you know, One Punch Man and he loves throwing easter eggs left and right), which had a poblational density of 1 218 431 million people in 2010, two years before MP100 started publishing and probably around the time ONE started planning and doing his research for the manga.

So If we like, sum every single death that these natural disasters caused we would get (for the earthquake, I'm using only the official number) 4,593 deaths. Which doesn't seem like a lot in a city with millions of people, but we can all agree it is very much a big deal.

And the reason I'm not taking into account the evacuation and Teru saving people is because I'm fairly sure the numbers I gave you do take into accounts any deaths caused by any wounds produced by the disasters. I might be wrong tho so anyone who wants to factcheck me is welcome to do so.

Anyway, I hope this somewhat quells the need you had about this :)

I need some hyper-analyser to analyse all images of the destroyed Seasoning City in season 3 and compare it to a similar disaster in order to get the grand total of deaths Mob caused.

[aquilaofarkham]

Dying Has Never Frightened Us: Intergenerational Trauma, Healing, & the Burden of Legacy in Castlevania

An analytical and interpretation essay that discusses how the concept of family legacy and duty can lead to intergenerational trauma in the Castlevania franchise. Focuses primarily on the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

☽ Read the full piece here or click the read more for the text only version ☽

THE BURNING NEED FOR RETRIBUTION: INTRODUCTION

The world has trauma. It is deep, collective, spanning its roots over centuries and territories dating back to when the borders of today never existed, and it has largely gone untreated—but not undiscussed.

From children’s cartoons to award winning dramas, trauma has become one of the most common topics for media to discuss, depict, and dissect. It makes sense given the sort of physical and mental gauntlet which society has been through in the past five years. Sometimes even in just the past twenty-four hours. From an uptick in disasters stemming from climate change, the rise of publicised policy brutality, genocide as a result of settler colonisation, new developments coming to light after decades of denial regarding the residential school system in Canada, and of course a global pandemic which is still making ripples. Then there is the recent examination of generational trauma which differs from culture to culture. The open wounds we’ve already left and will be leaving for future age groups.

Seeing how fiction reflects reality and vice versa, it isn’t any wonder that movies, television shows, and video games find ways of processing this worldwide sensation of frustrated ennui along with the need to find answers as to how regular citizens can fix things, including ourselves, when politicians and world leaders cannot. When reality cannot provide satisfying resolutions, when we are left confused and even angrier than before due to the apparent shortcomings of institutions meant to provide relief towards the average person, it’s natural to look towards specific media. Whether for coping mechanisms, validation for this collective and personal trauma, or simply for cathartic release so the emotions don’t have to remain bottled up.

Castlevania , both its original 2017 series and the most recent entry of Castlevania: Nocturne (as well as the video games which the show is inspired by), is no stranger to this popular trend of storytelling and characterisation. Yet this trend also comes with its own controversy. When done with a deft writer’s hand and a layer of empathetic critical thinking, trauma in fiction and how we heal from its intergenerational effects can be a powerful tool in raising awareness in regards to something left forgotten by the larger public or it can allow viewers to look inwards at themselves. Done poorly or with a lack of empathy and taste, then the floodgates open.

But beyond the usual discourse surrounding trauma in fiction (how to portray a “realistic” panic attack, what makes a “good” victim, the problematic connotations of forgiving one’s abuser, etc.), Castlevania has its own things to say about the lingering effects of grief, guilt, and pain over the course of thirty-two episodes (now a fourty episode runtime with the inclusion of Castlevania: Nocturne season one). The series—particularly the first which ran from 2017 to 2021—has now gained a reputation for being one of the darker animated ventures tackling themes of religious corruption, abuse, sexual manipulation, and injustice among many others. The value and thoughtfulness of each depicted theme ranges from being genuinely compelling to delving into mere shock value yet the series is also known for its uplifting ending and cathartic release from such dark themes.

One could write entire dissertations on each complicated character and their developments. From Dracula’s suicidal tendencies as a result of unchecked grief to Isaac’s conflicted redemptive journey beginning with his unflinching loyalty to the king of vampires and ending with him forging down his own path in life. How characters such as Carmilla, consumed by her inner agonies and burning hatred towards the world to the bitter end, was left isolated from her sisters until she was forced to choose the terms of her own death, while others like Alucard, Sypha, and to an extent Hector rose above their individual torments in favour of hope and survival. However, this examination will focus on the series’ titular family of vampire hunters. Namely, the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

Note: this essay will delve into speculations and purely interpretative hypotheses stemming from the author’s own opinions in regards to how they personally read the presented text. It will also discuss heavy spoilers for the majority of Castlevania games and the first season of Castlevania: Nocturne.

—

WHAT A HORRIBLE NIGHT FOR A CURSE: THE CYCLE OF TRAGEDY IN THE CASTLEVANIA GAMES

This examination begins in the exact same place as the show began with its inspirations and references: the original video games developed and distributed by Konami Group Corporations. It’s easy to get swept up in the notion that because of the technological limitations with video games at the time, the Castlevania games are devoid of story or characterization. Yet even the most bare bones of a story found in the games can still have something to say about the burden of legacy and how trauma left unconfronted has the possibility of tearing down that legacy. The most prominent example being Castlevania: Symphony of the Night , arguably the first game to begin delving into a deeper story and character driven narrative. It follows the events of Castlevania: Rondo of Blood , a game which portrayed its protagonist Richter Belmont as a force of nature in the face of evil, always knowing what to do, what to say, and emerging victorious without so much as breaking a sweat (or candelabra).

In keeping with the time of its release and the landscape of popular media particularly in Japan, Rondo of Blood feels like a traditional 1990s action anime complete with brightly coloured cutscenes and character designs reminiscent of Rumiko Takahashi and Rui Araizumi (despite the usual classic horror elements present in every Castlevania game). This is most evident with Maria Renard, the second playable protagonist who attacks with her own arsenal of magical animals and even has her own upbeat theme music during the credits when players complete the main story in “Maria mode”. Richter also shares many similar personality traits with his counterpart, namely his optimism in the face of danger and the confidence that he will be the hero of this narrative.

Of course all this changed in the direct follow-up to Rondo of Blood , the aforementioned Symphony of the Night . Arguably the new staple of future Castlevania games to come, not only did it change the gameplay and aesthetic, it changed the very core of the characters as well. The game even begins with the same ending as Rondo of Blood where Richter fights and defeats Dracula with the help of Maria. Then during the opening crawl, we discover that during a time skip, Richter has vanished and Maria is searching for him. Surely this will be nothing less than a heroic rescue and the most powerful Belmont of his century will be restored to his rightful pedestal.

Yet for the first half of Symphony of the Night , the player is faced with a sobering realisation—the villain we’re supposed to be fighting, the one responsible for conjuring Dracula’s castle back into existence, is Richter himself. No longer the hero we’ve come to adore and look up to from the previous game. Of course, the player along with new protagonist Alucard both know that something isn’t right; perhaps Richter isn’t in his sound mind or some nefarious force is possessing him to commit evil deeds. But unless the player solves the right puzzles and find the right in-game items, Symphony ends with Alucard putting down Richter like a rabid dog. However, this ending can be avoided and a whole second half of the game is revealed.

Richter’s canonical ending is left ambiguous at best, tragic at worst. He laments over his moment of weakness, claiming the events of the game were his fault despite Alucard’s insistence that confronting Dracula was always going to be inevitable. Still, the tragedy of Richter’s fate and how he is portrayed in Symphony of the Night comes much later, when it’s implied the Belmonts are no longer capable of wielding the fabled Vampire Killer, a leather whip imbued with supernatural properties that has been passed down generation after generation. One mistake and misjudgment left the Belmont legacy in a perpetual long lasting limbo with the titular hunters themselves seemingly disappearing from history as well, leaving others such as the Order of Ecclesia to pick up the fight against Dracula’s eventual resurgence. It isn’t until the height of World War II (the setting of Castlevania: Portrait of Ruin ) when the whip’s true potential is finally set free thanks to the actions of Jonathan Morris, a distant relative of the infamous vampire slaying family. However, the only way in which Jonathan can reawaken the Vampire Killer is by defeating a manifestation of the person who last wielded it and also whom the whip abandoned nearly two hundred years prior—Richter Belmont.

Yet players and fans don’t get to see it in the hands of another Belmont until the events of 1999 when Julius Belmont defeats the latest incarnation of Dracula and seals his castle away in a solar eclipse. Even then, he loses his memory until thirty years pass and he’s forced to do battle with Soma Cruz, an innocent transfer student who is also the reincarnation of Dracula. If the protagonist of Castlevania: Aria of Sorrow succeeds in defeating the cosmic threat that has awakened his supposed “evil” destiny, then Julius can finally lay down the Vampire Killer in peace (until the sequel Castlevania: Dawn of Sorrow , of course). If not, the game ends with Julius keeping his promise to Soma should he lose sight of his human side and let Dracula be reborn once again. In a scene that directly mirrors the beginning of Symphony , Julius enters the castle throne room, Soma throws down his wine goblet, and the screen goes black. The cycle continues anew. Julius has upheld the duty of his family name but at what cost.

The theme of tragedy getting passed down through different generations, permeating from person to person even with those who are not Belmonts, is a staple of later Castlevania games following Symphony of the Night . In some instances, pain and trauma is what jumpstarts the story moving forward. Castlevania: Curse of Darkness begins with its protagonist Hector in a direct parallel to Dracula swearing revenge on the one responsible for the murder of his wife; an ultimatum that follows him every step of the way, fuelling his rage and determination up until the penultimate moment when his goal is within reach. Yet even then he cries out, claiming this “murderous impulse” isn’t truly him—it’s the result of an outside force he himself once aided before defecting before the events of the game.

Something similar occurs in Castlevania: Lords of Shadow , an alternative reimagining of the franchise that while still a topic of division amongst most die hard fans has also seen a resurgence of popularity and reevaluation. It begins with Gabriel Belmont grieving over the death of his own wife (a trope which is unfortunately common amongst the majority of Castlevania titles). This is a wound that follows him throughout his journey until an even more painful and shattering twist regarding Marie Belmont’s demise is revealed to Gabriel later in the game.

However, there is one example from the games that stands above the rest in regards to the sort of damage which generational trauma as a result of familial duty and legacy, upheld to an almost religious degree, can inflict. So much so that even a declaration of retribution can evolve into a generational curse.

—

HUNT THE NIGHT: LEON BELMONT & THE MYTH OF FREE WILL

The Castlevania timeline didn’t always have a set beginning. An inciting incident by which all future stories, characters, and inevitable calamities could base themselves off of. Rather it changed from game to game until a definitive origin was settled in 2003 with the release of Castlevania: Lament of Innocence . For at least two games, the starting point was supposed to be with Simon Belmont, making his way through a labyrinth of dark forests and cursed towns, before finally traversing the ever changing fortress in Transylvania to defeat Dracula. He even went as far as to gather the remains and resurrect the eponymous lord of his own choice just to rid himself of another curse entirely. 

Castlevania protagonists are always cursed by something. Whether it be the cause of Dracula’s influence, their own actions as seen in Lords of Shadow , a curse of the flesh like how Simon had to tackle his own ailment in Castlevania II: Simon’s Quest , or something else just as common as Dracula’s curse: the burden of honouring a family duty.

A basic yet iconic 1986 entry followed by a sequel that had potential especially with the first appearance of the now famous “Bloody Tears” track but suffered from a rather confusing and lacklustre end product. Then suddenly the starting point for the franchise timeline changed drastically. Castlevania III: Dracula’s Curse despite the numerical inclusion in its title stands as more of a prequel, detailing the exploits of the Belmont who came before Simon. Not much was altered in the grand scheme of things; the titular vampire hunter still essentially slays Dracula with the help of three other playable characters, said final boss having been driven mad and more violent than ever by humanity’s slight against him. However, not only were the methods by which Dracula is defeated changed but players were given more insight into the sort of burden placed upon the Belmont family name.

When the story of Dracula’s Curse begins, protagonist Trevor Belmont isn’t revered as a legend or hero but rather a blight on larger society who the people only turn to as a last ditch effort against rising evil. The regular god-fearing people of Wallachia now fear the Belmonts and their power (it is also implied that some still feared the barbarian-esque Simon despite his legendary status) so the family is excommunicated. Trevor is forced to enlist three other outcasts—or simply two other fighters, depending on which version of the story you examine—in order to carry out the family business. Even when the rest of the world has shunned them and there are plenty of others just as capable of stopping the forces of evil, a Belmont still has a destiny to fulfil. 

Yet once a series has gone on for long enough, things within the established canon are bound to change—again and again. Whether through re-examination in order to line it up better with present day morals and sensibilities, or through good old fashioned retconning in favour of something more interesting, more thought out, or less convoluted. Other times, it’s simply because either the creator or viewers wanted it to happen. In 1997, this occurred with the release of Castlevania Legends on the GameBoy, a prequel to Dracula’s Curse that was meant to serve as the actual origin for the Belmonts, Dracula, and even his son Alucard. Instead of Trevor, the very first Belmont to fight Dracula is now his mother, Sonia Belmont, seventeen years old and already burdened with the glorious purpose of her bloodline.

Sonia is undoubtedly the protagonist of her own story with agency and drive. However, the game ends with a stark reminder of why the Belmonts have a place in the Castlevania universe. The last we see of Sonia in Legends is in the form of an epilogue where she holds her newborn child and states that one day when he’s grown, he will “be praised by all the people as a hero”. Despite her triumph over Dracula—a monumental feat itself—it seems that her purpose in the end (the purpose of most Belmonts other than to forever fight evil in fact) was to merely continue the bloodline so that descendants can carry out a promise made centuries before by another Belmont—someone that neither Simon, Trevor, Julius, or Richter ever knew.

The inevitability of sudden retcons within long-running media was not as kind to Legends as it was to Dracula’s Curse . Because of how the in-game events conflicted with subsequent entries (for example the implication that Trevor is actually the son of Alucard, thus further tying the Belmonts to Dracula through blood as well as duty), both Legends and Sonia were completely removed from the canon timeline. This is merely one reason why the next attempt at creating the definitive origin for the franchise, now a cult favourite among certain subsections of the fan community, was regarded with some animosity. However, twenty years after its release, Castlevania: Lament of Innocence is considered by many as an underrated entry. It is certainly the darker title where both the hero and villain stumble through their own hardships yet neither emerges completely victorious by the end.

The opening narration crawl of Lament of Innocence describes the lives of Leon Belmont and Mathias Cronqvist. They spend most of their lives as reflections of each other; one grows into more of a fighter while the second is coveted for his intellect and ambition. Both are valorous, honourable, and products of their own respective plights. Despite his service to the church, Leon is soon systematically stripped of everything save for the clothes on his back because he wouldn’t follow their orders blindly. While Mathias is forced to watch as an uncaring god (the very same god he serves) takes away a figure of pure virtue and love. This figure, Elisabeta Cronqvist who appears to be a splitting image of Dracula’s next deceased wife Lisa Tepes, was the last remaining tie Mathias still had to whatever bit of morality he still feels, which he eventually throws away when deciding to drag his only friend and everything he holds dear into hell alongside him.

The difference is how both men react to those personal horrors and how they let it govern their pasts, presents, and futures not just for themselves but for others who follow after the dust has supposedly settled. Two men, two best friends turned hateful enemies because of an interlinked tragedy. Not only that, but also because of their perspectives, morals, and the way they view a world that is unkind to them. Both were spurred by the death of loved ones, both used it as a conduit, or rather a catalyst for the radically opposing directions in which their choices take them and their families. Leon chooses to struggle onwards towards a world free from darkness and horror despite his pain. Mathias chooses to revel in that very same darkness and pain with a fire that would burn for aeons. In the end, one thing is absolute. A single thing the two men can agree upon as they flee down adverse paths: one of them will destroy the other.

Yet the timeline of Castlevania proves that this choice comes at a great cost for the Belmonts in particular. By the end of Lament of Innocence , Mathias has revealed himself to be the great manipulator pulling the strings behind the scenes. Due to the immense grief he felt over losing Elisabeta to a presumably common illness made untreatable because of the time period’s medical limitations (coupled with his own arrogance and narcissism), Mathias finally becomes Dracula. Dominion over death and even god by has been achieved by doing what Leon’s righteously moral mind cannot comprehend: transforming himself into an immortal creature driven by bloodlust. All he had to do was lie, cheat, and cruelly outsmart everyone else around him. That of course includes Leon as Mathias’ manipulation tactics were also the cause of the mercy killing of Sara Tarantoul, Leon’s fiance, to stop her from turning into a vampire herself. After watching his former friend escape before the sun can rise and disposing of Dracula’s constant right hand man Death, Leon finally feels his anger over such a betrayal boil over. He gives one final message to Mathias, now the new king of the vampires: “This whip and my kinsmen will destroy you someday. From this day on, the Belmont Clan will hunt the night.”

This is how Castlevania: Lament of Innocence ends. Unlike other entries like Symphony of the Night, Aria of Sorrow, or Harmony of Dissonance , there is no good, neutral, or bad ending that can be achieved if the player is aware of certain secrets and tricks. There is only one for Leon and Mathias. The inclusion of multiple endings in some Castlevania games versus a singular set ending in others may seem like a small coincidental narrative choice in conjunction with evolving gameplay, but it matters in the case of Lament of Innocence. From the moment Leon enters the castle to rescue his fiance, the wheel has already started turning and his fate is sealed. Mathias has already won and Sara, along with future Belmonts, are already doomed. And Leon’s ultimatum made in the heat of the moment would go on to have repercussions centuries later. “Hunting the night” gave the Belmonts purpose but it also burdened them with that exact purpose. While Dracula deals in curses, so does the Belmont family—a curse of duty that gets passed down throughout the bloodline.

Leon Belmont was of course never malicious or cruel like Mathias was. He never wanted to deliberately curse his family because he suffered and so should they. His choice was made out of anger and retribution. Still, it goes on to affect Simon, Sonia, Julius, and others in drastic yet different ways. Yet in the case of specific Belmonts like Trevor and Richter, we see how this family legacy can have varied consequences in far more detail through the introduction of animation and serialised writing into the Castlevania franchise.

—

SOMETHING BETTER THAN A PILE OF RUINS: TREVOR BELMONT & STRENGTH FROM LEGACY

If there’s one thing that Castlevania makes abundantly clear with its four season runtime, it is that trauma does not inherently make people better or more virtuous. We of course see this from the games with Mathias and his personal crusade against god which leads to the complete dissolvement of his closest friendship. Or with Hector and the rage he feels towards his wife’s murderer, who also happens to be his former comrade under Dracula’s employment. Even Leon’s promise to both his friend, now his most despised enemy, and future descendants can also be an example of how gut reactions to pain, grief, and betrayal can have damaging consequences in the long run. This particular dissection of trauma when it affects a survivor negatively and in almost life-altering ways while still giving them a chance at achieving their own method of healing is most apparent with the animated representation of Trevor Belmont.

At its core, the first season of Castlevania airing in July of 2017 with four episodes in total is inspired by the events of Dracula’s Curse with the following seasons taking more from Curse of Darkness along with original story elements. It begins with the brutal execution of Lisa Tepes after she is falsely accused of being a witch. Shortly afterwards, Dracula declares war on all of humanity in an explosion of grief-riddled vengeance (a declaration that is not dissimilar to Mathias’ cursing of god after Elisabeta’s admittedly more natural death). Hundreds of civilians are slaughtered in the capital city Targoviste and hoards of night creatures descend upon more townships across Wallachia. 

This would be the perfect opportunity for a Belmont to stand up and fight back except there is one problem: the Belmonts have been eradicated from this world on false grounds of black magic and aiding the vampire lords instead of hunting them—much like how Lisa was slandered and paid the price with her own life.

The only Belmont left surviving is Trevor himself and his introduction does not paint him in the most optimistic or even heroic light. In the midst of being excommunicated by the church, he’s been wandering aimlessly for the past few years while languishing in whatever tavern he stumbles upon. In one particular bar Trevor finds himself in, he overhears the other patrons cursing the Belmonts and blaming them for Dracula’s siege upon humanity. He tries to stay out of it and not bring too much attention to himself until one glance at the family emblem stitched into his shirt breast is enough to ignite an all out skirmish.

Trevor hides his true identity not because he’s ashamed of it, but for his own safety and self preservation. In fact, the opinion he holds of his family is the total opposite from disdain for the sort of legacy they have saddled him with even in death. He reacts strongly to false accusations directed towards the Belmonts, angrily correcting the bar patrons by stating that his family fought monsters. However, he quickly realises he’s said too much and tries saving face by once again detaching himself from possibly being connected to the aforementioned Belmonts.

It’s only when Trevor is backed into a corner and is fresh out of snappy drunk retorts (thanks to a few hard hits to his nether regions) does he finally admit to his real lineage. As mentioned earlier, Trevor finds himself caught up in the first real brawl of the series not because of the pride he feels in himself but the immense pride he feels for his bloodline. All the while, he’s given up trying to hide what he is—a Belmont—and what he was born to do—fight fucking vampires.

Every time Trevor has the opportunity to bring up his bloodline whether in a fight or in conversation, it’s usually spoken with some bravado and weight even when he’s inebriated. However, when visiting the ruins of the Belmont ancestral home in season two and thus directly confronted with what little remains of his family legacy, Trevor loses all that previous bluster and becomes far more contemplative. He doesn’t reveal much of what it was like to actually live as a Belmont, only that it was “fine” and “no one was lonely in this house”. Even when staring up at the portrait of Leon Belmont, he says nothing and instead firmly  grips the very weapons which his ancestor must have also wielded.

It’s clear that Trevor feels no shame, bitterness, or lack of respect towards his family history despite the hardships that have come with it. Still, it’s difficult for him to truly accept the duty of being a Belmont and Trevor continually struggles with it over the course of two full seasons. Upon arriving at the ruined city of Gresit which is under constant threat of night creature attacks, Trevor doesn’t seem particularly concerned with the people’s plight or with helping them. He inquires about what’s been happening by speaking with a few local merchants but it’s only in order for him to gain a better picture of the situation that Gresit finds itself in. Otherwise, he’s simply passing through on his way to another tavern, fist fight, sleeping spot, or all three. Until he puts aside his own needs for self-protection in favour of saving an elder Speaker (a fictionalised group of nomads original to the Castlevania show who have made it their mission to help less fortunate communities and pass on their histories via oral tradition) from a potential hate crime committed by two supposed men of the cloth.

This moment acts as a representation of the first chip in Trevor’s carefully maintained armour. During the bar fight, he claimed over and over again that he was a Belmont in both skill and purpose. However, Trevor hasn’t done much to prove such a proclamation. Because of his ennui and poor coping mechanisms due to lingering trauma, he’s been all talk and not a lot of action—until this point. At first he tells himself to walk away, this sort of confrontation doesn’t concern him. Then he remembers where he comes from and uses the very same family heirloom to help someone physically weaker than himself.

Yet when he accompanies the elder back to where the other Speakers have found shelter from the monsters repeatedly demanding their heads as well as future night creature attacks, Trevor’s metaphorical walls are erected back up. He won’t take any part in this eradication of humanity whether as a victim or perpetrator and especially not to stop it. The people of Wallachia made their choice in the unjust murder of Dracula’s innocent wife, they made their choice when they decided to massacre what was left of his family, and the church made their choice when they decided to fight Dracula’s armies themselves without the Belmonts. Why should he lift a finger (or whip) to save the masses?

Despite this nihilistic attitude, Trevor proves to be a poor defeatist. He still desperately wants to protect the Speakers and warns them of an oncoming pogrom planned for them. A massive hate crime fueled by superstition and facilitated by the corrupt Bishop of Gresit which will supposedly save the city from night creature ambushes (this can be interpreted as a direct allegory meant to comment on how minority groups such as Jewish and Romani communities were used as scapegoats during the Mediaeval period). However, the Speakers refuse to budge and decide to face the angry and misled crowds head-on. They instead tell Trevor to leave in their place which, in a burst of frustration, spurs him to finally act like a member of his clan should. 

What follows next is one of the most defining moments of the series for Trevor, cementing his place as a Belmont. Another corrupt member of the church demands to know what he could possibly stand to gain from fighting back considering his downtrodden state and the fact that he’s entirely outnumbered. Trevor’s answer is simple: nothing. The Belmonts don’t protect everyday people for any great reward or because of any strong personal ties. They do it because it’s their duty and the right thing to do. Trevor even mirrors something which the elder Speaker told him; a family mantra that encompasses the very purpose of the Belmonts, dating back to Leon: “It’s not the dying that frightens us. It’s never having stood up and fought for you.”

Trevor’s healing journey does not end at this moment. He still has moments of hesitation where someone like Alucard has to forcibly remind him of his place as Belmont, saying he needs to choose whether he’s really the last of a long line of hunters or a drunkard. This leads to a fight sequence that nearly spans the length of an entire episode where Trevor further proves himself by taking on at least three different creatures all with varying degrees of strength, skill, and fortitude. Episode six of season two is the ideal example of not only Trevor’s determination but also his quick thinking. Moments such as him wrapping his cloak around his hand so that it doesn’t get cut while his sword slices through the throat of a minotaur or using a set of sticks to beat against an adversary when his whip is knocked away. Being a Belmont means using one’s intellect (no matter how unconventional it may seem) as well as one’s muscles. 

There is also another albeit less violent instance at the start of season three where he still feels the need to hide his surname while in an unfamiliar village. Then there is the revelation that malicious stories about the Belmonts and their supposed demise still circulate amongst rural Wallachian communities. Yet despite coming from a family of old killers (a term Trevor uses before facing off against Death in the final season) his family name remains his strength and the weight of both the Vampire Killer and Morningstar whip keep him grounded rather than burden him. The Belmont name carries such weight throughout the series that by the end, there is strong consideration from Alucard of naming a new township nestled in the shadow of Dracula’s castle after that family.

Trevor deals with his pain and trauma quietly, almost numbing it with the assistance of alcohol and dodging the harder questions regarding what his family was really like. He still finds strength in remembering what the Belmonts are here for despite the tribulations that come with the family name. Hardships that continue and evolve nearly three hundred years later.

—

THE THINGS THAT MAKE ME WHO I AM: RICHTER BELMONT & STRENGTH FROM LOVE

Depending on what sort of mood you might find the author of this essay in, their favourite Castlevania game will vary. At the moment, it’s a three way tie between Symphony of the Night for its artistry, Lament of Innocence for its story and characterisation, and Aria of Sorrow for its evolved gameplay. However, one personal decision remains relatively consistent no matter the mood or time of day: Richter Belmont is the author’s favourite Belmont and the inclusion of him in the latest animated adaptation Castlevania: Nocturne has only cemented that fact.

It makes sense from both a narrative and marketing standpoint as to why we’ve suddenly gone from the events of Dracula’s Curse/Curse of Darkness depicted in the previous series all the way three hundred years later to Rondo of Blood . Narratively, Richter and his companion Maria Renard already have a direct link to Alucard through the events of Symphony , which Nocturne will most likely cover and be inspired by in its second season. Marketing wise while also appealing to the largest demographic possible (even those less familiar with the games), amongst more recurring characters like Dracula and Alucard, Richter is arguably one of the most recognisable Castlevania figures right down to his design.

Certain traits and visual motifs of other Belmonts have changed drastically over the years and with each iteration. Meanwhile, from Rondo and Symphony , to Harmony of Despair and the mobile game Grimoire of Souls , to finally Nocturne and the inclusion of Richter as a playable character in the fighting game Super Smash Bros Ultimate , specific elements of Richter never waver. This includes his blue colour scheme, his tousled brown hair, and his iconic white headband. All of which carry over in the first season of Nocturne which not only expands upon Richter’s character first established in Rondo of Blood but also further examines said character.

For example, Richter’s true introduction directly following the downer cold opening is without a doubt the farest cry from Trevor’s. While Trevor’s first scene acted as a sobering depiction of what happens when physically/mentally damaging coping mechanisms mix with unacknowledged grief, Richter’s first fight gets the audience’s blood pumping, complete with a triumphant musical score and a showcase of his skill with the Vampire Killer. Richter is cocky, but not reckless. He’s sarcastic, but not sullen like Trevor was. Because of his upbringing after the death of his mother, filled with positive affirmations, he values the wellbeing of others along with their fighting experience. Yet his confidence does not overshadow his acknowledgement of the family burden. Richter is well aware of how heavy the Belmont legacy and duty can weigh upon an individual’s shoulders along with how closely it can tie itself around a person’s life and their death—a reminder as well as memory which haunts him for nine years.

When Nocturne begins, its first major fight sequence takes place between Richter’s mother Julia Belmont (an original character for the show) and the vampire Olrox, an enemy taken from Symphony of the Night now reimagined as a seductive, complex Indigenous vampire on his own path towards vengeance against the very person who took away the one he loved most in this world—just one of many thematic parallels to the first series, this time referencing Dracula’s motives and justification for his grief. Just when it seems like Julia has the upper hand thanks to her magical prowess, Olrox transforms and ends her life in a swift yet brutal manner. All of which happens right before ten-year-old Richter’s eyes.

Julia was simply doing her duty as a vampire hunter and her life as a Belmont ended the same as most of her ancestors did: in battle while fighting for the life of another. Why then did it hurt Richter most of all? Why does it haunt him well into his early adult years? And why was it seemingly more so than how Trevor’s trauma haunted him? There are two probable answers to this, one being that Richter was only a child, directly confronted by the cause for his mother’s sudden and graphic death with no way of fighting back despite being a Belmont.

In the case of Trevor, although he was a few years older than Richter when his entire family and ancestral home were burned in front of his eyes presumably by the same people they were supposed to be defending, the circumstances which followed them afterwards are vastly different. For nine years Richter was surrounded by those who loved and cared for him whereas Trevor only had himself and the hoards of average Wallachians who hated him because of superstitious rumours and the church’s condemnation. Trevor had over a decade’s worth of experience in becoming desensitised to his pain and trauma, masking it beneath self deprecation and numbing it with alcohol. He wasn’t even aware of the fact that he was a deeply sad and lonely individual until Sypha pointed it out to him.

Despite his bravado and brighter personality than his ancestor, Richter is also an incredibly sad, hurt person who suffers somewhat from tunnel vision. He obviously has empathy and wants to protect people from monsters, vampires, and the like. More so than Trevor did during his introduction before his moment of self-made rehabilitation. However, he doesn’t seem to care much about the revolution itself or what it stands for. He attends Maria’s rally meetings but he doesn’t take active part in them, opting to stay back and keep a watch out for any vampire ambushes. He admits that he doesn’t really listen to Maria’s speeches about liberty, equality, and fraternity. And in the most prominent example of his disillusionment with fighting for a larger righteous cause, when given a revolutionary’s headband, he shoves it into his pocket and mumbles about how tired he is of everything.

This could be interpreted as defeatist if Richter wasn’t already trying so hard to uphold his family duty and maintain a level head. He needs to have a sense of control and almost achieves it until Olrox so casually confronts him in the middle of a battle which Richter and his friends seemed to be winning until they’re forced to flee close behind him. When Richter runs away and emotionally breaks down the moment he’s finally alone, it isn’t because he’s weak or cowardly. On a surface level, it was due to his fear and panic over not being able to face his mother’s killer (someone who has proven to be much, much stronger and more powerful than any Belmont). Yet it was also a form of harsh admission to himself. He couldn’t maintain that aforementioned sense of control and perhaps he never will, not where he is right now at least.

It isn’t until he’s reunited with his grandfather Juste Belmont (long thought to have died, leaving Richter as the final Belmont) that this negative mindset brought on by unresolved trauma begins to shift. In many ways, Juste is another callback to what happened with Trevor. He suffered an immense tragedy in the past and has since spent his entire life drifting from tavern to tavern, avoiding his own grandson and instead leaving him in the care of people far more capable of raising him and instilling better morals within the youngest Belmont.

Other mentor-esque characters appear in Nocturne such as Tera who raised Richter alongside her biological daughter Maria. There is also Cecile, the leader of a Maroon group which Annette joins after escaping slavery. Despite their individual pains, these two women maintain the hope that humanity can be changed and the evils of the world can be defeated. Meanwhile, Juste has thoroughly lost his own hope. He reveals to Richter that “evil will always win” because of how it permeates everything and is far stronger than any Belmont, even the most magically inclined members. No matter how many Draculas, Carmillas, or Lord Ruthvens are defeated, it will always find a way to creep back to the surface whether through the upper class of France or through the very colonisation that nearly wiped out Olrox’s people or enslaved Annette’s family. 

One of the first things that Juste says to Richter directly references the sheer weight of the Belmont legacy, all of which culminates within the whip itself. This can also be a reference to the Vampire Killer carrying a living soul as Leon Belmont was only able to awaken its true power by sacrificing Sara Tarantoul. The whip has both a metaphorical and literal weight which the Belmonts must come to terms with.

Yet for Richter, family is maintained not through blood ties, which can easily die out or be abandoned because of generational trauma, but through the people we find and attach ourselves to. Under the immediate threat of losing his found family, all of Richter’s pain and anguish explodes when his magical powers violently return to him in one of the most visually impressive and cathartic moments of Nocturne season one, complete with an orchestral and operatic rendition of “Divine Bloodlines” taken straight from Rondo of Blood as he ties the same headband he nearly discarded earlier around his head. Then once the dust settles and Richter is asked by Juste how he managed to tap back into that great power, he simply responds with the most obvious answer he can come up with: there are people who love him and he loves them in return. 

This is reiterated when Richter is reunited with Annette and describes the same revelation when she asks how he was able to regain his magic. Not just a mental revelation but for Richter, it was a physical sensation as well. Just when he believed he had lost everything, something reminded him of all the things worth protecting in his life and all the pain he’s had to endure.

Richter finally donning his iconic white headband is symbolic of not only his decision to actively join the French Revolution but also his revelation that the love he feels for Maria, Annette, and Tera is his own righteous cause. That, to him, is worth defending just as much if not more than the concept of a centuries old curse turned legacy.

—

SLAVES TO OUR FAMILIES' WISHES: CONCLUSION

Richter, both his game depiction and his recent Nocturne iteration, acts as a reflection and subversion of what a Belmont is along with what that family duty means to different members. Trevor found healing from his trauma through his duty. Richter found his healing through love. Of course Trevor loved Sypha and Alucard in his own way, but throughout the entire first series, from the moment he removed his cloak at the end of season one to standing up against Death in the finale, his driving motivation was always to preserve his family’s legacy despite his own shortcomings. The Belmonts were all but gone and Trevor had been exiled, excommunicated, and turned into a societal pariah. Had he given into despair and continued with his vagabond ways, who else would wield the Morningstar, the Vampire Killer, or any of the knowledge cultivated by previous Belmont generations?

But for Richter, family legacy is more of a nebulous concept. It gets mentioned in conversations and we see its varying effects on individuals, but even when Richter is reunited with Juste, the immediate priorities of his found family takes the place of his blood family. This, according to him, makes him a Belmont. 

It is also important to consider that we are still only on the first season of Castlevania: Nocturne with season two having been renewed and in production merely a week after its initial premiere. With the reveal of Alucard as a last minute cliffhanger in the penultimate episode, it will be interesting to see how his own characterisation as well as his close tie with both the Belmonts and his own family burden will further develop especially after three hundred years within the show’s timeline. One of the biggest possibilities is that in contrast with his youthful brashness and instability that was the crux of his character in the first series, Alucard might serve as a sort of mentor figure or perhaps his own generational pain will bond him further to Richter and Maria, more so than he was in Symphony of the Night . Then there is the question of whether Richter in the midst of the apparent losses he suffered during the finale of season one will follow down the same path that his video game counterpart did.

In 2020, the author wrote another Castlevania -centric essay which detailed the visual, thematic, and aesthetical shifts of the franchise from its inception during the 1980s all the way to the 2017 adaptation through focusing on how these changes affected Alucard. By the end of that essay, it was mentioned that despite the show being renewed for at least one more season, the overall future of Castlevania remained unknown. This is still the case for now. 

Though one can make educated assumptions and theories, there’s no way of knowing what sort of direction season two of Nocturne will take with its themes and characters. This is doubly true for the games themselves. Despite the anticipated releases of the Silent HIll 2 and Metal Gear Solid Delta: Snake Eater remakes, as of now Konami has not revealed any official decisions to remake, rerelease, or produce new Castlevania titles. One can hope that due to the success of both shows along with the anticipation for Silent Hill and Metal Gear Solid remakes that something new will be in store for Castlevania in the near future.

Castlevania , both its games and animation adaptations, prove that there is a place in this world for every kind of story. In the last episode of season one airing in July 2017, Alucard states what could very well be the thesis of the entire franchise: “We are all, in the end, slaves to our families’ wishes”. Yet even if we cannot escape the narrative we’ve been latched onto or, for dramatic purposes, cursed with, there are ways in which we can combat it and forge our own healing process.

—

MEDIA REFERENCED

Castlevania (1986)

Castlevania II: Simon’s Quest (1987)

Castlevania III: Dracula’s Curse (1989)

Castlevania: Rondo of Blood (1993)

Castlevania Legends (1997)

Castlevania: Symphony of the Night (1997)

Castlevania: Aria of Sorrow (2003)

Castlevania: Lament of Innocence (2003)

Castlevania: Curse of Darkness (2005)

Castlevania: Lords of Shadow (2011)

Castlevania (2017—2021)

Castlevania: Nocturne (2023—)

[thurisazsalail]

Millions of votes are uncounted. YOU can do something about it!

Take less than 10 minutes to register your protest.

Tell the White House to investigate election fraud. There is a sample statement in this post.

Bitching on Facebook, Tumblr, and Twitter will not help. If you are an American who is old enough to vote, please take the 10 minutes to do this. Post it on your Facebook, Twitter, whatever you have.

Bomb threats called into 32 polling places

Ballot boxes burned in Vancouver WA and Portland OR; hundreds of ballots damaged, casters unable to be contacted. The city had issued a request for anyone who dropped off their ballots after the previous collection time to come forward.

Ballots declined for spurious, questionable reasons, like physical signatures not matching the shitty electronic pad ones.

These 4000+ were in Pennsylvania alone.

An unprecedented number of mail-in ballots were denied, in fact.

Major disasters along the SE means entire CITIES displaced, and someone can only vote at their polling places. With documents. So what happened to thousands of people who don't have ANYTHING? And what happened with polling places that do not exist? Entire TOWNS that don't exist? "Record numbers" DID vote in NC, but there are *other places?* What happens to people who don't have transportation? Many states do NOT have protected days off for voting. Many places do not HAVE transportation to polling places.

y'all, there was a dude not far from me who went after people at a polling place with a fucking machete. cops did something right and took his ass to jail. motherfucker went after a 70 year old?? wow u r so brave

Voter intimidation has been rampant. People here in Tampa FL were wearing piles of Trump merch while voting, which btw is illegal, but of course they weren't turned away in a red county. And some of the cops here are KNOWN white rights members so who tf you going to call.

KNOWN Russian propaganda, such as the vote fraud video "in Georgia" was rampant and convincing people to not vote or that voting polls were rigged

Don't have energy to come up with your own writing? Think like a high school essay. Include some specific bullet points.

You MUST put your REAL NAME and ADDRESS (or temporary/registered address, whatever you have.) This shows that you are a REAL PERSON and not some fucking bot. Yes, you need to do this EVERY TIME you contact a government official, or you will not be counted.

Include both investigation reasons AND recount reasons. Weird shit like bomb threats and Russian propaganda should trigger an investigation.

I shouldn't have to tell you this but keep the fucking anger out of it. Do NOT make ANY veiled, passive aggressive, or even potential threat to ANYONE. jfc.

"I urge you to investigate the 2024 election on grounds of (reason, like Russian propaganda influence) and (reason, like bomb threats preventing us from exercising civil rights.) Domestic terrorists have burned ballot boxes, attacked voters at polls, and intimidated voters. An unprecented number of ballots have been thrown out or called into question for reasons such as signature mismatch, which is not something a ballot counter should know anyways. Those ballots must be cured, the caster not simply notified of an issue through e-mail. I am greatly concerned that foreign influence has especially changed the nature of our elections. This is a matter of national security. It determines who owns weapons and who can use our nuclear codes, while calling into question the integrity of the American people. I urge the United States Government to demand an investigation into these issues and to ensure that everyone has been counted. Thank you."

I'm not saying "wahhh, wahhhhh, my guy didn't win!!1" I'm not demanding election investigation because I didn't Like the Results. I'm demanding an investigation because people's lives were threatened, our civil rights were widely disenfranchised, and we cannot have a clear idea of who REALLY won (regardless of who) until we remedy this national issue.

This is a matter of national security. Now act like it.

original post @sunnys-aesthetic ; tumblr won't allow Blazing.

[st-just]

My basic unexamined and unedorsed instinct is that investigative journalism (interviewing people, digging through obscure paper trails, anything that might lead the mob to car bombing you) is a near-heroic calling and, like, paper-of-record stuff (obituaries, disseminating the results of public government meetings, recording natural disasters and government initiatives and consequential legal rulings and w/e) is an absolutely necessary public service, anything that gets classified as 'op/ed' or is basically a persuasive essay using what other people have reported is just, like, Posting.

Possibly the least respectable of all possible employment.

[mintjeru]

in kuyu's historical fantasy webnovel turning, protagonist yuder aile is described to have only focused on the development of his own abilities prior to his execution and subsequent regression. in an attempt to prevent the disaster he saw in that future, he begins to build genuine connections and trust with not only his cavalry member peers but also his commander, kishiar la orr. the slow-paced and natural progression of yuder's relationship with kishiar, beginning with curiosity, progressing to mutual respect, and later encompassing loyalty and romance, is a major point of interest. however, their relationship still manages to not obscure the equally compelling plotlines, politics, and character dynamics present in the story. yuder's complex relationship with kishiar and the story's refusal to revolve solely around romance strongly mirrors the arospec experience. in this essay i will-

[askgildaseniors]

Nikita Privalov offers an inspiring story about working in a high-volume restaurant setting. He recalls one event where he discovered a toothpick in the mashed potatoes, which might have seriously injured a customer. This study illustrates the possible hazards that might develop in a fast-paced kitchen, emphasizing the significance of caution and attention to detail. Nikita's prompt action in removing the toothpick and reporting it to the chef demonstrates his commitment to upholding high standards and safeguarding client safety, which is extremely inspiring for anybody facing similar issues.

Nikita's friendship with the chef is key to preventing the disaster. When he discovered the toothpick, he informed the chef, displaying his confidence and respect for his authority. The chef's quick and deliberate decision to stop the entire kitchen and address the workforce emphasizes the need for collaboration and accountability in a professional kitchen setting. This moment encourages individuals who recognize the importance of leadership and the need to stand up for what is right in every scenario.

Nikita reflects on his experience and explores the wider lessons he gained about flexibility and survival, which are important in culinary and life situations. The demanding nature of the restaurant industry necessitates continual awareness and the capacity to deal with unforeseen events successfully. Nikita finds inspiration in these trials, realizing they are necessary for learning to navigate and achieve, not just in the kitchen but in life. His insights offer a motivating perspective to those facing similar challenges.

Nikita wraps off with a serious perspective on life's problems. He links his restaurant experience and bigger life lessons, implying that learning to adapt, endure, and defend oneself and others is a universal concept. This essay is an encouraging reminder that abilities learned in one area of life may frequently be applied to another, resulting in personal growth and resilience. Nikita's tale is an inspiring tribute to the value of perseverance, collaboration, and adaptation in overcoming hurdles and achieving success in any effort.

[stealth-liberal]

So, it's that time again, the anniversary of 9/11. Two years ago, on the 20th anniversary, I wrote an essay about the Twin Tower jumpers and how we as a society have refused to look their fear and pain in the face and hold it.

Now, it's been 22 years since that day and my thoughts go elsewhere. Now I am thinking about legacy and remembrance. Honoring the dead. How do we fully honor the 3,000 people who were killed that day? Because I have some serious issues with how that has played out over the last 22 years.

I was in my 20's when 9/11 happened, and I was in the Marine Corps, so, as you can imagine, it changed my life, and not a single one of those changes was positive. Right now though, it's not what I want to talk about.

We say never forget, always remember, but how are we doing that. By dooming ourselves to what was 20 years of unending war? That doesn't sound like a good memorial.

I never had an issue with the war in Afghanistan. We were attacked Pearl Harbor style, and that was always going to end the way it did. But the war in Iraq? It made me an angry liberal. I had never been conservative, and I joined the Marine Corps to pay for college, we had been at peace for So Many Years that I guess I didn't really think that could change. The war in Iraq was criminal, though. Dubya and his cronies whipped our pain and our grief into a storm and used it to help him LIE to Congress (both sections) so he could get his war. Afghanistan had no natural resources besides poppies for opium that would benefit the war profiteers. They were strategically placed, but that was it. Iraq? Iraq had oil and Haliburton, Chaney, Dubya, Condoleezza Rice, and the rest made So Much money. Billions were made, and billions were "misplaced." Congress was given false intell reports so they would vote for the Iraq War. The fact that no one went to jail for that scarred me. They lined their pockets, and my friends came home in body bags because they SOMEHOW didn't have the money for proper body armor. I will never forgive them for that.

So... It's not a very good way to remember the 3,000 who died on 9/11. Perhaps the worst memorial of all time. Dubya shackled us to pain and grief, and no one was allowed to recover. Least of all the families who lost people. They were paraded for the cameras to be used, and looking back on it, it was sickening. How could they do that to families and the survivors? Why?

I mean, intellectually, I know why. Emotionally, I will never understand it. The survivors and the families deserved to recover. We, as a nation who witnessed the horror, deserved to recover. But recovery meant no profit. Recovery meant no Iraq War. Recovery meant Halliburton might not make quite as much money. So we all stayed traumatized, unable to move forward.

And here it is, 22 years later. How should we honor the 9/11 dead and the survivors? Well, I have a few ideas.

1. 3,000 people died that day, but it could have been less. Why? Both the Twin Towers and the Pentagon had structural and safety issues that made something catastrophic even worse. The Twin Towers did not have enough emergency staircases for it's size. All skyscrapers were supposed to have 4 staircases in case they ever needed to be evacuated. Both Towers only had 2, and the why of that is rage inducing.

You see, 4 staircases meant less floor space, which meant less desk space, which meant less ability to charge businesses higher rents. So money changed hands when the towers were built, and the number went down to 2 emergency staircases. This was a decision that was heavily criticized at the time, and many in the trades predicted disaster.

When the 1993 bombing of the Twin Towers happened, the towers stayed standing, and the 2 missing staircases weren't a problem. Everyone thought all was good. To be fair, NO ONE ever thought a terrorist group would fly a jumbo passenger jet into each tower. No skyscraper was built with that eventuality in mind. They are now, though.

When the planes hit the towers, each tower lost access to elevators and 1 staircase each. Now, both towers had to be fully evacuated with just that one staircase. It wasn't enough, and survivors have all spoken about how everyone was jammed into the stairwells going down those stairs one at a time at a snail's pace. It's a miracle as many people actually survived as they did.

The South Tower was hit more on the side, so some people above the impact zone were able to get out. The North Tower was not so lucky. It was hit head on, everyone above the impact zone was doomed, and they knew it. It's why so many of them chose to jump once faced with what was no real choice to begin with, burn, or jump to their deaths.

Had there been enough staircases, had there been 4 instead of 2, many more people would have survived. So I think a suitable way to never forget the people who died in The Twin Towers is to enact legislation so that never again can a skyscraper be built without proper emergency egress/staircases in case of an evacuation. Any skyscrapers without enough staircases are brought up to code so that if the worst happens, as many people can be saved as possible. That seems a fitting memorial.

The Pentagon was built like a fish trap, the idea was if an enemy somehow got in, they would never get out. No one ever factored in the notion of a jet being flown into the building, most of the inner ring collapsing and massive explosion damage and fire racing through everywhere. There are many stories of people pounding on the glass and not being able to get out.

Thankfully for the people at the Pentagon, they were not in a skyscraper, and first responders were able to find ways to get to them. But they couldn't and didn't get to everyone. So I think a fitting memorial to the Pentagon dead that day would be to make sure no building is so secure that you can't get out, can't truly evacuate, if the catastrophic happens. When a building is on fire, everyone deserves the best possible chance to get out and get home alive.

2. The first responders of 9/11 were the heroes of that day. I think we can all agree that the very definition of heroic is running back into a collapsing and/or burning building determined to save just one more life. So many first responders died that day doing the best they could to save lives. The ones who survived were harrowed to their bones.

The people who worked the wreckage of both sites, who collected what was left of human remains. Who bit by bit picked up the wreckage and tried to heal two cities with the labor of their hands. These people were also heroes, and anyone who says differently is just wrong.

They were told it was safe, and they were told we would take care of them. However, it wasn't safe. Both of these groups of people have had massive health complications ever since from the toxins they were immersed in for days, weeks, months, and even years. The dust alone caused so much lung damage.

Then, to add insult to injury, a Republican congress tried to take away their health benefits, to leave them twisting in the wind. These ghouls left the ACTUAL heroes of that terrible time in chronic illness, terrible pain, and in many cases tried to let them die. Why? Because they were too cheap to spend a dime on these people. John Stewart basically had to retire from The Daily Show to shame Congress into taking care of these people.

On the 17th anniversary he gave a blistering speech to them and I paraphrase here: "17 years ago, they acted heroically and did their jobs. They did their jobs! NOW DO YOURS!"

You want to know the very best way to remember the first responders who died in 9/11? Take care of their brothers and sisters who survived, their brothers and sisters who spent years working The Piles. None of these people should EVER pay so much as a dime for their health care ever again. For the rest of their lives. Period.

This is how we should memorialize them, this is how we never forget. Not chaining us to a never ending cycle of pain, despair, and anger. Not lying to us to get a second war that no one needed. Not war profiteering and then calling it patriotism. Not terrorizing our Muslim citizens. Not taking away our rights, not trading our civil rights for the illusion of safety.

This is how we make peace with the horror of what happened. This is how we move forward and let the memory of the dead be a blessing.

[studyonline365]

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[marcusbrutus]

I feel like I have a tumblr anon in my brain…. Like a tiny cop. But it’s an chronically online anonymous weirdo. And every thought I have, I get “anons” telling me how it’s problematic and I should kill my self LOL The other morning I saw an RFK sign and I thought doesn’t he have brain worms, someone running for president shouldn't have brain worms. maybe apply for literally any other job. and the anon was like ummm ableist much? Like WHAT. I turned off anon on tumblr a while ago, so even if I post something “risky”, someone will have to tell me what they think to my face. They can’t hide. Even posts I think are innocuous can be wildly misinterpreted, and someone will probably call me problematic. But even if no one says anything, I still hear it. In my brain. Sometimes I delete things because the thought is so strong. I’m probably not gonna make it to any heaven or enlightenment because I can’t forgive yourfaveisproblematic. In my mind, Tumblr was great before then, or at least it felt that way, and that blog sewed the seeds for cancel culture in the future. That stuff sticks to my brain, even if I don’t want it too. When you put sins like "said disabled people shouldn't be alive" on the same level as "has a tattoo in a language they don't natively speak," it is very confusing to a people-pleasing undiagnosed autistic 14 year old. I felt/feel like I can’t like anyone or anything because it’s ~problematic~ I worry it will never go away, because it affected me in my developing years, 14-19 I want to get better, but it’s hard. I wish I could run from the internet, but I can’t. It’s a part of life now. It’s how we stay connected. But it’s also like…. Idk. The internet used to be my safe space, right? Deviantart. Early tumblr. Seeing weird people like me made me feel less alone. I was a weeb surrounded by “preps” for lack of a better word, not that I didn’t have friends but NONE of them were into what I was into, you know? And no one became as obsessive about things like books and anime like I did, except online. But now it’s like, idk, corruption of the garden of Eden. But instead of me eating the fruit, the garden/internet ate the fruit. The world is too different now… I can’t keep up. And it’s not just because I’m getting older. Things happen faster now. Trends will last half a year when in the past they would have lasted a decade. I hate knowing everything all of the time. I hate that my garden is now a cesspool.

I’m just angry that people on tumblr and lefty spaces online are so blind to their own propaganda, and calling it out is “hate.” Like idk, I guess I expected better from people who are supposed to be ~intellectuals~. Well, if YouTube video essays have taught me anything, style over substance goes a LONG way. And they’re like “oh we’re so compassionate and we want a better future” but they tell everyone to kill themselves and laugh when red states get devastated by natural disasters it's not just that but it's like…. if you're not constantly aware of everything, you're ~part ofthe problem~ #wakeupamerica. silence is violence, blah blah blah. it's just hard because i grew up with a strict dad so learned to be a people pleaser. i'm extremely sensitive to guilt and shame. and all most of the internet has done since 2014 is shame everyone for everything. you're either with Us (good, pure, morally righteous) or you're with Them (problematic, evil). you don't want to be gasp problematic, do you? you don't want to have a callout post made about you and lose all your friends, right? well, keep you nose clean and reblog all the right posts so we know which side you're on an maybe, maybe we'll leave you alone. i have the stress of someone in debt to a mob boss. nah it's more like… i have the stress of everyone in the scarlet letter and im hoping everyone will keep their eyes on the Villain of the Week and leave me alone there's a decent video called "how to radicalize a normie." i say decent because it treats radicalization like a right-wing only issue and the "answer" to right wing radicalization is, of course left wing radicalization. "Even though they're on the bad, evil side, there's still hope because we can get them to our good, morally righteous side!" That kinda bs, and I say bs not in a left vs right way. According to my dad I'm a full blown communist! I'm saying it in the sense that the answer to radicalization isn't "just radicalize them to the other side." That's not at all helpful. You might as well tell an alcoholic who likes jameson to just switch to jack daniels. It's all poison, it's all harmful. ANYWAY, he talks about how most people don't set out to be radicalized, the politics comes to them. That happened to me - but on the left. And I'm sure if I left a comment on his video saying as much, he'd say it didn't happen or say it was a good thing. On tumblr, I came for anime. And for the first year, I got anime. But then I got really intense political stuff. "silence is violence." "i see you not reblogging this." "if you're not angry, you're not paying attention." I was 14-15, sheltered as fuck, I don't know anything about the world but now tumblr is convincing me that I know more about political issues than anyone. And it changed me. And it fucked me up. and I want to get unfucked. But I don't know how. I feel like an internet alcoholic. Like, even if I do stop using it, it will still be there, haunting me, forever, you know? because all my friends use it, not just you guys but irl friends. and the internet is effecting the real world. I miss the days when there was the internet, then there was reality. but now the internet is the reality. That's why I also fell so hard for the [REDACTED] stuff. Tumblr made me think everyone was [REDACTED] because like 99% of tumblr is [REDACTED], and I was worried about it because god help you if you question anything or show the slightest bit of concern. God help you if you're not full steam ahead on everything. I want to escape the matrix. I hate the hypocrisy…. And I hate even more that I’m also a hypocrite. I fall for group think and propaganda but act like I’m above it all. I hate social media but use it every day. YouTube too. I guess that’s why I get so mad when I see them act like that. It reminds me of me. People think the consequences of social media on a teenage girl are like "omg I was feeling good about myself….. but then I saw a model on Instagram… alas. I will never be her. I weep."

But it's more like: Oh my gosh, I just saw a post asking for mutual aid (aka MONEY, BABY) and I scrolled past. What if they died because they couldn’t afford food because I didn’t reblog their post? But what if I DID reblog their post, but it was a scam, and I led my followers to give money to someone who didn’t need it instead of someone who did?

I was hoping to share more examples, but I'm worried someone will misinterpret, and even though anon is off, the anon in my brain is on. always. on. i keep going back to the internet because i keep expecting it to get good again… like how it was. for some reason, i can't accept that it will no longer be my safe space. i wish i had a massive angel to keep me out, or something. like the actual garden of eden. I have to accept that it will never get better. I have not only an addiction to the internet, but to the obsessive thoughts it brings. By wishing it will get better, and continuing to use it, I am chasing a dragon. That is to say, I'm hoping for the same feelings I got from initially using the internet. No one ever catches the dragon. anyway, if you read all that... thank you so much! i'm taking a break from the internet, until mid november at least. maybe by then, it will be better. or not. we'll see.

[mdzs-owns-my-ass-i-guess]

I have many thoughts re: the fall of Xianle from the pov of the impact of a natural catastrophe on socio-political balance and how great natural disasters often herald the fall of civilizations via civil war and internal strife

And how there are no viable solutions to a situation like that because the forces at play cannot be reconciled even if the root cause could be ammended (which is usually impossible anyway)

And how the tensions between the people of Xianle and the people of Yong'an follow precisely the theories of human displacement and conflict stemming from resource competition crisis

And how, regardless of whatever Xie Lian might have been able to do, it would not have turned out differently for him and his kingdom, even without Human Face Disease at play

Maybe i should dust off my knowledge and write an essay

[aspiringwarriorlibrarian]

I could do a whole essay, probably a whole book, on how the European cultural hegemony eclipsing our own experiences of nature and how much the popular view of nature being essentially European no matter where you're living is at best detaching you from your environment and at worst has caused massive ecological disaster as Europe's descendants try to force a European agriculture and way of life onto ecosystems that were never designed to hold it. But if I might offer just a fraction of that thinking, just a small bit of the inherent conflict in the cultural view of nature overriding actual nature, think of the characterization of Earth in the four elements ensemble: Stable. Passive. Unchanging.

Guys, I live on the Ring of Fire.

Earth is not stable. It is not passive. It will fuck your shit up.

[miyacchis]

I feel similarly about this to analysis of social conditions and how easy it is to fall into conspiratorial thinking about the capitalist class I think there is a tendency to talk offhandedly about billionaires as though they are masterminds in cahoots to oppress the working class rather than participants in a mode of production responding to material conditions for their own benefit and I think that can be dangerous

Also just an exhortation to be careful about reading intention into a text where it may not necessarily exist the creation of art is an opaque process which is influenced by any number of things you cannot know perfectly what someone was thinking as they chose a particular phrase for example particularly when we are talking about authors or poets whose lives are unknowable to us beyond what we might know about the time period and material conditions in which they were writing even for authors today whose lives and words outside of the text are more accessible to us we have to understand that they themselves may not be 100% cognizant of what is present in their work or that when they are discussing their work we have to understand that is also a construction - a text - which can be more or less authentic when brought to bear on the text under consideration regardless if the author means to obfuscate or not